THE ARTISTIC LIFE 303 can only jar us by its disharmony and by its violent self- assertion, which we call bad taste. The best architecture is that which loses itself in the natural landscape and becomes one with it, belongs to it. This principle has guided all forms of Chinese architecture, from the camel-back bridge to the pagoda, the temple and the little open pavilion on the edge of a pond. Its lines should soothe but not obtrude. Its roofs should nestle : quietly beneath the kind shade of trees and soft boughs should gently brush its brow. The Chinese roof does not shout out loud and does not point its fingers at heaven. It only shows peace and bows in modesty before the firmament. It is a sign 01 tne place where we humans live, and it suggests a certain amount of decency by covering up our human habitations. A we 7^ Karate to put a roof on all our houses, and QO not allow them to stare at heaven in their unashamed nakedness like modern concrete buildings. f J u archltecture is that in which we are not made to W where nature ends and where art begins. For this, the use 01 colour is of supreme importance. The terra-cotta walls of tte Uimese temple merge harmoniously into the purple of fe mountain sides, and its glazed roof, laid in green, p4ian ** to ff« us a hannomous whole. And we stand and look at it from a distance and call it beautiful.